The captivating gaze, the subtle curve of a smile, the weight of emotion conveyed in a single glance – portraits have an enduring power to connect us with our humanity. Whether you’re a budding artist intimidated by a blank canvas or a seasoned professional seeking to refine your process, a fundamental question often arises: what do you draw first in a portrait? This isn’t a question with a single, universally correct answer. Instead, it’s a gateway to understanding the foundational principles of portraiture, the interplay of form and likeness, and the strategic decisions that lead to a successful representation.
The Foundation: Establishing the Blueprint
Before a single line defines an eye or a nostril, the artist must establish a solid foundation. This initial stage is crucial for ensuring accurate proportions, a believable structure, and a pleasing composition.
Understanding the Subject’s Structure
The human head is a complex three-dimensional form. Before any detailed rendering, an artist needs to understand the underlying skeletal structure and musculature that define the planes of the face. This involves visualizing the skull beneath the skin, the placement of the jawline, the brow ridge, and the prominent cheekbones.
The Loomis Method and Beyond
One of the most widely taught and effective methods for constructing the head is the Loomis method, developed by Andrew Loomis. This approach breaks down the head into simple geometric shapes, such as spheres and boxes, allowing for accurate placement of features and a solid understanding of perspective. Typically, the process begins with a circle representing the cranium, followed by guidelines for the halfway point of the face, the eye line, and the centerline. This methodical approach provides a robust framework upon which to build. While the Loomis method is a popular starting point, many artists develop their own variations or integrate elements from other anatomical studies to create a personalized approach to structural drawing. The key is to have a system that consistently produces accurate proportions.
The Importance of the Block-in
The initial stage of drawing a portrait is often referred to as the “block-in” or “gesture.” This is where the overall shape and proportions of the head and its major features are roughly sketched. The goal here is not detail, but accuracy of placement and size.
Proportion is Paramount
This is where many beginners stumble. Misjudging the relationship between the eyes, nose, mouth, and ears can lead to a distorted and unconvincing likeness. Artists employ various techniques to ensure accurate proportions, including:
- Using comparative measurement: Holding a pencil or brush at arm’s length to measure the relative distances between features on the reference and then transferring those measurements to the drawing.
- Using sighting lines: Drawing faint lines on the reference and the drawing to ensure features align correctly horizontally and vertically.
- Understanding the “rule of thirds” and other compositional guidelines can also inform the overall placement of the head within the frame.
The block-in is a critical phase because any inaccuracies established here will be amplified as the drawing progresses. It’s far easier to correct mistakes in this early stage than to try and fix them once detailed rendering has begun. Think of it like building a house; a strong foundation ensures the entire structure is stable and true.
The Question of Focus: Where Do the Eyes Fit In?
Now we arrive at the heart of the matter, the element that most artists agree is paramount: the eyes. While the block-in establishes the overall structure, it’s often the eyes that truly breathe life into a portrait and serve as a crucial anchor for the rest of the drawing.
Why the Eyes First?
The eyes are often considered the “windows to the soul” for good reason. They are incredibly complex features, conveying a wealth of emotion, personality, and even character. Their precise placement and rendering are critical to achieving a recognizable and engaging likeness.
- Emotional Resonance: The subtle tilt of an eyelid, the shape of the iris, the highlights within the pupil – all contribute to the expression and mood of the portrait. Getting the eyes right immediately imbues the drawing with a sense of life.
- Structural Anchors: The eyes are located on the eye line, a fundamental horizontal guide that helps in the accurate placement of other features like the nose and mouth. Once the eyes are correctly placed, the artist has a reliable reference point for the rest of the facial anatomy.
- Building Likeness: For many artists, the unique characteristics of an individual’s eyes are what most strongly define their likeness. Capturing this specific quality early on can provide a significant boost to the overall recognition factor of the portrait.
The Process of Drawing the Eyes
When drawing the eyes first, the process typically involves:
- Accurate Placement: Using the established guidelines from the block-in, the artist carefully sketches the general shape and position of both eyes.
- Defining the Shape: This involves capturing the unique almond shape, the curve of the upper and lower lids, and the precise placement of the iris and pupil.
- Establishing Value and Form: Even in a preliminary stage, artists begin to introduce tonal variations to suggest the roundness of the eyeball and the depth of the socket. This includes understanding how light falls on the eyeball and creates highlights.
- Adding Detail and Emotion: Once the basic form is established, artists will begin to refine the details of the iris, pupil, and any surrounding shadows or subtle skin folds that contribute to expression. The placement and rendering of highlights are particularly crucial for creating a sense of depth and life.
While some artists might draw the nose or mouth first, focusing on the eyes often provides the most immediate and satisfying sense of likeness and emotional connection. It’s a strategic choice that can significantly streamline the rest of the drawing process.
The Interplay of Features: A Holistic Approach
While the eyes are a popular starting point, it’s important to acknowledge that portraiture is rarely a linear process. The features of the face are interconnected, and an artist’s approach can also involve considering these relationships from the outset.
The Nose as a Central Element
For some artists, the nose, as a prominent central feature, serves as an equally valid starting point. Its placement and volume can influence the perceived proportions of the entire face.
- Proportional Guide: The base of the nose is often aligned with the bottom of the earlobes, and its length is typically about one-third of the way down the face. Understanding these relationships can be instrumental in achieving an accurate block-in.
- Defining Planes: The nose is a series of planes – the bridge, the sides, the nostrils, the tip. Capturing these planes accurately can significantly contribute to the three-dimensional feel of the portrait.
The Mouth and its Expressive Power
The mouth, a powerful conveyor of emotion, can also be an early focus for some artists, particularly if the expression is a key element of the portrait.
- Capturing Expression: The subtle upturn or downturn of the lips, the tension in the corners, the shape of the philtrum – all contribute to the overall expression.
- Placement Relative to Other Features: The mouth’s position relative to the nose and chin is crucial for overall facial harmony.
The Importance of the Overall Shape and Silhouette
Regardless of the specific feature chosen as the initial focus, the overall shape of the head and its silhouette remain paramount. An artist might begin by lightly sketching the outer contours of the head, establishing the hairline, jawline, and the general size and shape of the head before delving into individual features. This provides a larger context and ensures that the features will fit harmoniously within the overall structure.
Beyond the Initial Lines: Building the Likeness
Once the foundational block-in is established and key features are placed, the process moves towards refining and rendering. This is where the artist begins to translate observation into tangible form.
Establishing Tone and Value
Likeness is not just about accurate lines; it’s about capturing the way light and shadow define the forms of the face.
- Understanding Light Source: The direction and intensity of the light source dictate the placement and intensity of highlights and shadows.
- Gradual Development: Artists build up values gradually, starting with mid-tones and then layering lighter and darker areas to create the illusion of three-dimensionality. This is where the true volume of the face begins to emerge.
Refining Features and Adding Detail
As the tonal structure develops, the artist can then refine individual features, adding the nuances that make each face unique.
- Eyes: Adding the subtle variations in the iris, the texture of the eyelashes, and the reflections in the pupils.
- Nose: Defining the subtle curves of the nostrils, the soft transitions of the bridge, and the delicate modeling of the tip.
- Mouth: Capturing the subtle sheen of the lips, the texture of the skin, and the precise shape of the cupid’s bow.
- Ears and Hair: These features, while sometimes drawn later, require careful observation of their form, texture, and how they interact with the surrounding planes of the head.
The Role of the Reference Image
The quality of the reference image plays a significant role in the portrait process. High-resolution, well-lit photographs are essential for capturing the subtle details and tonal nuances that contribute to a strong likeness. Artists often work from a combination of photographs and direct observation to gain a comprehensive understanding of their subject.
When to Deviate from the “Eyes First” Rule
While drawing the eyes first is a popular and effective strategy, it’s not an unbreakable rule. Certain situations might call for a different approach:
- Strong Expressive Features: If the primary focus of the portrait is a particularly striking smile or a distinctive nose, an artist might choose to start with that feature to capture its essence early on.
- Specific Compositional Needs: In some cases, the composition might dictate starting with another element to ensure proper balance or to establish a particular visual rhythm.
- Artist’s Personal Preference: Ultimately, the most effective starting point is often the one that feels most intuitive and successful for the individual artist. Experimentation and developing a personal workflow are key.
In conclusion, while there’s no single definitive answer to what you draw first in a portrait, the consensus among many artists leans towards establishing a solid structural foundation through a careful block-in, often prioritizing the accurate placement and initial rendering of the eyes. This strategic approach allows for the confident development of likeness, the accurate placement of all subsequent features, and the creation of a portrait that truly captivates and connects with the viewer. The journey of a portrait is one of building blocks, where each carefully placed line and tonal shift contributes to the final, breathtaking likeness.
What is the most fundamental element to begin with when drawing a portrait?
The absolute cornerstone of any portrait drawing is establishing the correct placement and proportion of the major structural landmarks of the head. This typically involves sketching the overall shape of the head and then lightly indicating the positions of the eyes, nose, mouth, and ears. Getting these foundational elements accurately placed relative to each other is paramount, as even minor inaccuracies here will significantly affect the final likeness.
This initial stage isn’t about detail; it’s about building a solid skeletal framework upon which all subsequent features will be built. Think of it as creating a blueprint. Without a strong and accurate blueprint, any attempt to add finer details like shading or specific features will ultimately be undermined, leading to a distorted or unconvincing portrait.
Should I start with the eyes or the nose when drawing a portrait?
While both the eyes and nose are crucial features, the decision often comes down to the artist’s preference and the specific portrait. Many artists find starting with the eyes to be highly effective because they are often the most expressive feature and a strong focal point. Accurately capturing the size, shape, and placement of the eyes can quickly bring life and personality to the drawing.
However, some artists prefer to begin with the nose or the general structure of the face, including the hairline and jawline, to ensure accurate overall proportions before focusing on the finer details of the eyes. The key is to establish the correct relationships between all facial features first, regardless of the specific feature you tackle initially. Whichever feature you choose to start with, prioritize accurate placement and proportion.
How important is capturing the overall shape of the head first?
Capturing the overall shape of the head is critically important because it dictates the canvas and context for all subsequent facial features. The shape of the skull, whether it’s oval, round, or squarer, and the tilt or angle of the head significantly influence how all the individual features are perceived and positioned.
Drawing the general head shape first provides a foundational structure that prevents features from appearing misplaced or out of proportion later in the process. It’s like framing a picture; if the frame is crooked, the picture inside will never look quite right, no matter how well-executed. This initial mass establishes the silhouette and overall volume.
When is the best time to consider the light source and shadows?
The consideration of the light source and shadows should ideally begin early in the drawing process, even as you are establishing the basic structure. Understanding where the light is coming from allows you to anticipate the placement of highlights and shadows on the planes of the face, which are essential for creating form and volume.
While you might not render the full tonal values immediately, having a mental map of the light and shadow patterns from the outset informs your initial placement of features and helps in building a three-dimensional illusion. This foresight prevents you from having to drastically alter your drawing later to accommodate tonal relationships that weren’t considered during the structural phase.
Does the hairline play a significant role in the initial drawing stages?
Yes, the hairline plays a significant role in the initial stages of portrait drawing. It provides a crucial boundary and anchor point for the placement of other facial features, particularly the forehead and the top of the head. Accurately placing the hairline helps to define the overall proportion and shape of the face.
The hairline also contributes to the individual’s likeness and can significantly impact the perceived age and character of the subject. Getting its position and general shape right early on helps ensure the rest of the facial features are in the correct vertical relationships, contributing to a more accurate and convincing portrait.
Should I focus on individual features or the relationships between them when starting?
The most effective approach when starting a portrait is to focus on the relationships between individual features rather than getting too bogged down in the precise rendering of any single feature. This means paying close attention to the distances between the eyes, the placement of the nose relative to the eyes and mouth, and the overall symmetry or asymmetry of the face.
By prioritizing these relational aspects, you build a framework that ensures the portrait’s overall proportions are accurate from the beginning. It’s about establishing the “map” of the face before detailing the “landmarks” themselves. This holistic approach prevents common errors like eyes being too far apart or the nose being too long.
Is it acceptable to use reference lines and grids when starting a portrait?
Absolutely. Using reference lines and grids can be an incredibly valuable tool, especially for beginners or when tackling complex angles or portraits from photographs. These methods provide a structured way to transfer accurate proportions and placement of features from your reference to your drawing surface.
Reference lines, such as horizontal lines for eye level or vertical lines to indicate the center of the face, help maintain consistent spatial relationships. Grids can be even more precise, allowing you to break down the reference image into smaller, manageable sections and replicate them accurately. They are not a shortcut to talent but rather a systematic aid to achieving a likeness.